Resources

Followers

The Jewish Atlantic World Database
is now open and free to use! In the collection, you will find over
5,000 images related to Jewish life in early America including nearly 3,000 photos of gravestones. You will also find other types of of material
culture (ritual baths, synagogues, houses, furniture, etc.) and
archival documents (probate records and land evidence) from many of the
key ports where Jews settled in North America and the Caribbean, as well as
several crucial ports from which they immigrated (Amsterdam, London,
Hamburg). Also included in the
database are samples of non-Jewish (and later Jewish) artifacts to allow
students to better assess what made Jewish life distinctive. Keywords allow
visitors to connect artifact to other items related to the same individual,
family, ethnic group, location, port town, or theme. Right now you can browse or search, or look for gravestones by the individual's name or by cemetery. Soon we hope to have a complete list of family names to browse as well. You will also find resources
to help you analyze the objects in the database or to use in the
classroom. Looking for something or someone and can't find it/them? Let me know,
as we are still adding items to the database each week! Here are some
important colonial Jewish families you will find in the database: Lopez, Henriquez, Senior, Curiel, Gomez, Hoheb, Hart, Rivera, Maduro, Seixas, and many many others.

This collection began when I was doing research for Messianism, Secrecy, and Mysticism: A New Interpretation of Early American Jewish Life.
In this book, I am interested in the ways in which colonial American
Judaism was as much an embodied religion as it was a textual or
faith-based practice. That is, I argue that we should think of colonial
American Jews as a “people of the body” as well as a “people of the
book,” and I look to the ways that everyday objects helped define and
create Jewish identity. By sharing the images used to create this book, I
hope to enable students, scholars, and family historians to trace the
paths that early American Jews (and their objects) took, as well as to
gain a richer sense of their everyday lives.

If
you would like to learn more about the religious life of early American
Jews and the objects they used, please feel free to order a copy of Messianism, Secrecy, and Mysticism: A New Interpretation of Early American Jewish Life from ISBS or Amazon.com.
Purchase of the book is optional, however; this website is freely
available to the public as an educational, not-for-profit tool for
teaching and learning.

One of the many wonderful features of the NEHGS (New England Historical Genealogical Society) is that they send out a weekly newsletter filled with useful tidbits. One of my favorite items is the "Name Origins" by Julie Helen Otto. In a recent edition, Otto sought to explain one those odd colonial names "Titus" and gave the origin as, "TITUS (m): New Testament. Much used by the Hinmans of Woodbury, Conn."

Although Otto's purpose is to be pithy, I felt that this was explanation was missing something crucial both in terms of origins and what it would mean to invoke that name. Although the name Titus does appear in the New Testament (in St. Paul's Corinthians, Galatians, 2 Timothy, and his letter to Titus), that is not its origin. Titus is an old Roman name. More particularly, Titus is the name of the Roman Emperor who ruled from 79-81 CE and who was a military commander before that. He is most famous for laying siege to the Temple in Jerusalem and destroying it. He was considered a "good" emperor. When Paul wrote his works, this Titus was one of the most famous men alive. The name Titus became popular in England during the Protestant Reformation (and hence for settlers in New England) for reasons I will outline below.

While it may seem odd to name a child after the person who destroyed the Temple, Josephus's History of the Jewish Wars lauds Titus and blames the destruction of the Temple on the Jews, not Titus himself. This book was popular work in the colonies, and one of the first books bought for many early libraries, including Newport's Redwood Library. Josephus's popularity helps us understand what view of Titus colonists valued. In The Jewish Wars, Josephus claims the Temple "was destroyed by internal dissensions, and the Romans who so unwillingly set fire to the Temple were brought in by the Jews' self-appointed rulers, as Titus Caesar, the Temple's destroyer, has testified. For throughout the war he pitied the common people who were helpless against the [Jewish] partisans; and over and over gain he delayed the capture of the city and prolonged the siege in the hope that the ringleaders would submit." This view of things corresponds to the belief in various parts of the New Testament that Jews (not Romans) were ultimately responsible for the death of Jesus.

Ms. Otto notes that the name Titus was popular among the Hinmans of Woodbury, Conn. This family was noted for its military service, so that may be part of the reason for the convention. Given the general popularity of the name Titus during the Protestant Reformation, though, there are most likely typological reasons for using the name as well. Puritans used typology when naming people as it signaled their belief that they were living in the era during which the messiah would return. Puritan typology comes in two forms. (1) Figure and events ("types") from the Old Testament that predict figures and types ("antitypes") from the New Testament and thus predict the arrival of Christ and (2) Figures and events ("types") from the Bible or Biblical era that predict current events ("antitypes") and hence predict the return of Christ. The use of the name Titus is the second kind. The use of the name during the reformation probably referenced both Paul's disciple, but also the "type" of Emperor Titus, destroyer of the corrupt Temple which in the Puritan's day represented what was in their minds the current corrupt Church--Roman Catholicism. The Biblical "Titus" would have been a fitting exemplar (role model) for New England Protestants because he helped reconcile the Christian community of Corinth (Greece) with Paul. He also went on to organize other churches. That is, to name someone Titus was to show him as a founder as well as a purifier.

As a side note, although Shakespeare's Titus Andronicus was performed in the 1590s, it is unlikely that this is the inspiration for the use of the name by Protestants during the reformation. First, Puritans hated plays. Second, although the play is often seen as an allegory for disputes between the Protestants (Goths in the play) and Catholics (the Andronici Romans), the Titus of this play (an earlier Roman general) is "Catholic" and morally corrupt. He is not someone you'd want your child to emulate.

When looking at the early New England predilection for Biblical names, it is useful to keep in mind what a name signified and the eschatological weight it carried. To name someone Titus was to give voice to your dreams not only for what your child would become, but also what the future would hold.

Credits:Image at Top is from the Arch of Titus (Rome) and depicts the Romans carrying of the Menorah from the Temple in Jerusalem. Photo posted on wikipedia and by Laurel Lodged

Beth Haim Ouderkerk is the most magnificent and important of the historic cemeteries in the Jewish Atlantic World. It is the birthplace of the unique Sephardic sepulchral tradition that spread throughout Hamburg, London, Newport, New York, and the Caribbean in the seventeenth and eighteenth centuries.

The cemetery opened in 1614, and some of the oldest (and most famous) stones imitate the coffin-shaped style found in medieval Spanish Jewish cemeteries and Sephardic cemeteries in the Ottoman Empire. These stones have been memorialized in paintings and drawings by Dutch artists like Romeyn de Hooghe (1645–1708) and Jacob van Ruysdael (1628/9-1682). By the final quarter of the seventeenth century, a distinctive tradition emerged in the cemetery: flat table stones with a predilection for elaborate carvings that often include death’s heads, angels, biblical scenes, the hand of God cutting down the tree of life, and heraldic images. Members of the Sephardic elite in the colonies imitated these stones, and often even imported stones from Amsterdam before their death. This incredible cemetery has been open to the public and available as an important heritage site for travelers and scholars from around the world. The site is also a priceless resource for genealogists.

The recent economic crisis is also hitting Beth Haim Ouderkerk. The lack of donations have created a situation where the annual municipal subsidies may be withdrawn. The lack of these funds will halt maintenance work and make it difficult to keep the cemetery open to the public.

You can help! As this tax season ends and you consider making charitable donations, keep Beth Haim Ouderkerk in mind. You can also support the cemetery by purchasing books about the cemetery. All proceeds go to the Beth Haim.

To learn more about this classic cemetery, please enjoy the most recent newsletter (Thank you to Dennis Ouderdorp for being willing to share it!):De Castro Newsletter 17-1

Occasionally there is a gravestone you having been waiting months to see. I just got back from a research trip in Barbados. One of the gravestones I had been most eager to visit while I was there was the stone of Samuel Hart (1773) in the Nidhe Israel Jewish Cemetery in Bridgetown. It was a classic New England stone displaced in a tropical paradise.

I had seen a tantalizing detail of Hart's stone on Evan Millner's Jewish Barbados blog and had recognized it as the work of William Stevens, a famous carver from Newport, Rhode Island. Many of Newport's early Jews came via Barbados, and throughout the eighteenth century, exchange between Newport and Barbados was crucial part of the circuits of the triangle trade. The triangle trade is usually thought of as focusing on sugar, rum, and slaves. Until my recent visit to Barbados, I hadn't fully appreciated to what extent that trade had also included gravestones. I knew that many Jews in the colonies imported tombstones from Amsterdam, London, and Venice. Hart's stone revealed that gravestones also traveled between the colonies.

Hart's stone is a wonderful example of the way in which colonial carvers tailored their stones to meet different markets. On the one hand, Hart's stone closely resembles the carvings made by Stevens on the 1775 table stone of Martha Malbone in Newport's Anglican cemetery. On the other hand, it also had some distinctively West Indian (and Jewish) features. Like some of the stones in Newport's Jewish cemetery, the inscription is in three languages: Hebrew, English, and Spanish. The way these languages were arranged on Hart's stone, however, had a distinctively West Indian flair. Like many Jewish gravestones in Barbados and Jamaica, the English inscription is used as a border around the stone, a feature not found in Newport's Jewish cemetery (see stone below from Jamaica that also uses the English border motif) .

Hart's stone highlights his membership in both the New England and West Indian Jewish communities. Although Hart died in Bridgetown Barbados of a "Purtrid Fever," Hart was a member of an important Newport Jewish family. The Spanish portion of the inscription underscores Hart's Newport connection: it tell us Hart is "de la Ciuda[d] de Newyork /Mercador quien havia Nuevamente Arrivado de New Port en la Colonia de Rhode - / Island en Nueva Inglaterra / America del Norte" [from the city of New York, Merchant who has recently arrived from Newport in the colony of Rhode Island in New England, North America]. When members of Newport's Jewish community died in Boston New York, or the Southern Colonies, their extended family often shipped their bodies back to Newport to be buried with their kin. Although Hart was not shipped home (probably to prevent the spread of whatever caused his putrid fever), his family drew connections to him through using a Newport carver. At the same time, the West Indian style of the English border embedded him within the funerary tradition of the community with which he was buried.

Hart was not the only New Englander to die in Barbados and be commemorated with a New England slate stone. While I obsessed over Hart's stone, Barbados historian Karl Watson pointed out that there were several other New England stones in the nearby Anglican cemetery of St. Michael's Cathedral. At St. Michael's, the oldest stones have been moved onto walkway that skirts the edge of the church. Once upright markers, the stones now lie flat with their once buried jagged edges exposed like the roots of teeth. Sometimes the tops of the stones are now buried partway under the church's thick walls. Like Hart's tombstone, these markers often explicitly emphasize the deceased's connection to the New England. They are also a poignant reminder of how family members sought to tie the dead to their homeland, even when they were buried thousands of miles away.

A Plan of Bridge Town Barbados (1766).Synagogue with adjacent cemetery indicated by Red Star.St. Michael's Cathedral is "The Church" Lower Right Corner.

Old Gravestones Used to Pave Pathways at the Cathedral, Including Imported Slate Stones from New England

A Stone "Made in Charleston." Most Likely this is the Charleston near Boston, famous for the work of the "Charleston Carver." Although Barbados had important cultural and trade connections with Charleston, South Carolina during this era, New England slate stones were favored in that city during this era. The first long-term carver in Charleston SC was Thomas Walker (ca. 1790s), who favored marble (Nelson, Beauty in Holiness, p. 401)

All photos by Laura Leibman and Stevan Arnold with extreme gratitude to Karl Watson and Celso Brewster (Nidhe Israel Museum) for all their time and help at the Nidhe Israel Cemetery and Synagogue.

In the Hunts Bay Cemetery in Jamaica, there is a small fragment of a gravestone, belonging to Esther ("De Ester"). The rest of the fragment reads "fil...," probably filha, daughter in Portuguese. The size of the stone and the identification of the deceased as a daughter (rather than wife) suggests this was probably a child's gravestone. What intrigues me most about the fragment, however, is the house inside of the wreath at the top.

It is unusual to find gravestones with houses carved on them either in the Jewish Atlantic World or in colonial American cemeteries more broadly. On some level this is surprising. In Hebrew, the euphemism for a cemetery is "Beth Haim" (house of life). Also many scholars have noted that the traditional upright markers of colonial cemeteries look like doorways. Usually this is understood as a symbol of the grave as a portal into the afterlife. An actual house is a different matter, though, as it symbolizes the family and protection, not the world to come. Some argue that the house is an inherently feminine space: it is not only the domain of women, but also a place of security and shelter. It interests me that the house also appears on the stone of Esther de la Pena (Amsterdam 1697), a detail of which is shown below.

This exquisite stone from Beth HaimOuderkerk features the family coat of arms at the top; below is an inscription and a depiction of the family's country estate shown above with sailing ships in the background. (Esther's husband Daniel was a shipping magnate, and surely it is trade that bought the beautiful estate.) At the very bottom of the stone is a reference: Psalm 128:3 ("Thy wife shall be as a fruitful vine, in the innermost parts of thy house; / thy children like olive plants, round about thy table"). On one level, the country house seems like a status symbol; on another level, however, it is a moving metonym for the deceased wife: she is like the "innermost" part of the house, a private, familial space.

The house motif is more commonly found in American women's poetry than on gravestones; however, here too graves, houses, and women are conjoined. Emily Dickinson made analogies between poems and houses, not only because of the associations of houses with femininity and domesticity, but also because both are about enclosure or restriction. For Dickinson, being in the house was similar to the suffocating "constriction" of a tomb. Literary critic Leslie Wheeler argues that for Dickinson, possessing a body ultimately became so restrictive that death signified a welcome release, and that "the narrowness of the tomb yields a paradoxical freedom" (The Poetics of Enclosure 15). I somehow think this is not what the carvers of these stones meant: Both the Pena house and the house on young Ester's tomb face outward, windows open. The Pena house is surrounded by five vibrant trees (the children?); although it faces away from the bay (mercantile life) towards a more private vista, it hardly looks like a mausoleum. Rather it is a prosperous, sheltering space, reassuring in its solidity.

This post is dedicated to the felines of the Atlantic World: those sun-loving souls who spend their days (and nights) lounging in the cemeteries that grace the Atlantic Rim. This week I feature two cemetery cats: Wunzie (Newport) and Iyar (Ouderkerk aan de Amstel) as well as their sepulchral companions, the lions carved onto Beth Haim Ouderkerk gravestones.

Cat Number One:Wunzie. Officially, Wunzie lives down the street from the Trinity Church Cemetery in Newport, RI. Last time I was in Newport, however, Wunzie spent most of her time sunning herself on table stones and chasing bugs among the upright markers. A black and white DSH (domestic short hair: veterinary speak for "cat mutt") with a sparkling personality, Wunzie likes to ham it up for the camera. Here are a few shots of her in her favorite haunt. If anyone in Newport knows how Wunzie is doing, let me know!

Cat Number Two: Iyar. Iyar is an official graveyard cat of the historic Portuguese-Jewish cemetery in Ouderkerk aan de Amstel in the Netherlands. She lives in the Caretaker's House with her younger cat companion and her master, Dennis Ouderdorp, who knows more about Jewish Cemeteries than anyone I have ever met. (Because I lack social graces, I only have a picture of Dennis's cat, and not Dennis himself.) Named for the Hebrew month of Iyar (meaning "Rosette" or "blossom"), Iyar is the matriarch of the cemetery. You will notice that like Wunzie, Iyar is a black and white DSH. Coincidence? I think so. The day I was in Ouderkerk ann de Amstel it was pouring rain, so I don't have quite as many photos of Iyar as I'd like, but here is another of her on one of the flat Sephardic table stones.

Iyar and her companion aren't the only cats in Beth Haim Ouderkerk. Although the earliest gravestones at Beth Haim Ouderkerk are free of images of living things, by the 1650s the use of vegetation appears, followed by death’s heads and human hands in the 1660s. By the 1680s animals, angels and biblical scenes with humans appear. One of the most popular animals to grace the stones are lions, several styles of which can be found in the cemetery. Lions are an important Jewish symbol, and often appear on Jewish ceremonial art, such Arks, Torah crowns, and menorot. The JHOM speculates that, "It is possible..that these lions, particularly those on many Torah Ark doors and curtains, are symbolic replacements of the original cherubim that once adorned the Ark of the Tabernacle in the Mishkan (portable Temple in the wilderness) and the Temple in Jerusalem." Lions—associated with the tribe of Judah and the Davidic monarchy—evoked the messiah and hence are an important eschatological reference. Lions are also associated with the Spanish-Portuguese name "Leon" (literally "lion") and are a common heraldic symbol (for example they are found on the coat of arms for "Castile and Leon," Spain and the Netherlands). Many of the lions in Beth Haim Ouderkerk are on heraldic lions (for example above right, gravestone of Benjamin Senior Teixeira, 1744). They can also be found, however, in biblical scenes, such as the one below depicting Daniel and the lions.

According to Maimonides' Guide for the Perplexed, belief in the corporeality of God is a heresy. Why then do gravestones from the Jewish Atlantic World often feature the hand of God cutting down the tree of life? In even more extreme cases, God was presented on gravestones as a fully anthropomorphized figure, such as on the gravestone of Samuel Senior Teixeria (Amsterdam 1717), and the gravestones of Yosiyahu Raphael Castillo (Barbados, 1698) and Esther Hana de Meza (Cassipora Cemetery, Suriname 1745).

The Hand of God has a long history in Jewish art. One of the earliest examples has been found in the wall paintings of the Synagogue at Dura Europos. Created around 244 CE, the synagogue at Dura Europos (Syria) was uncovered by archaeologists in 1932. The rich wall paintings were remarkably well preserved, because the synagogue had been filled in with dirt in an effort to protect the town from a Persian attack in 256 CE. Although at first the artwork made archaeologists skeptical skeptical that the structure was Jewish, today the wall decorations are considered one of the most famous examples of early synagogue art. Many of the frescoes are widely reprinted, particularly a Purim Procession featuring Mordechai. Less commonly reprinted, and perhaps more troubling, is the Akeidah (binding of Isaac) scene from above the Torah niche which features the hand of God staying the sacrifice (figure above at right).

Whereas the hand in the Dura Europos fresco prevents a death, the hands featured on the tombstones from the Jewish Atlantic World usually represent a life being ended. The motif can also be found in Kabbalistically-influenced Jewish cemeteries in Eastern Europe from the same era, though more commonly a flower is being picked, rather than a tree cut down. This is probably an illustration of the verse from Shir haShirim (Song of Songs) 6:2, “My beloved has gone down into his garden…to gather lilies.” Ruth Ellen Gruber provides an example from the Sadagora Cemetery in the Ukraine of the flower motif. The cut flower motif can also be found on gravestones in the Jewish Atlantic World, usually for those who died young, and occasionally the hand of God is replaced either by a putto (as in the example at the left from the gravestone of Marius Penso (1889, Beit Haim Berg Altena, Curacao; photograph Laura Leibman) or the angel of death (see example below)

Although cut flowers also represent a life cut short, the cutting of the tree has a slightly different resonance. As scholar Aviva Ben-Ur notes, the tree of life has particular importance in Jewish mysticism. As "an ancient, widespread symbol representing the `promise of immortality and everlasting youth,'" the tree of life "variably signifies in Jewish tradition Judgment, the return to Edenic paradise, the future Temple, and Messianic Jerusalem" (Still Life: Sephardi, Ashkenazi, and West African Art and Form in Suriname’s Jewish Cemeteries, 56).

Scholars have offered several explanations for the hand of God motif including Kabbalism, conversos' Catholic upbringing, the antinomian ("against the law") influence of the messianism practiced by Sabbatai Tzvi, and the lack of religious rigor in the colonies. I am curious what explanation seems most likely to readers of this blog.

I have a new favorite book: Joachim Jacobs' Houses of Life: Jewish Cemeteries of Europe. This book is a must have for anyone interested in either Jewish History, Genealogy, or Gravestone Art. Several things make this book fantastic: one, it provides a history of European Jewish cemeteries from the early Roman period through today. Two, it is beautifully illustrated: in addition to featuring some of the most important artwork created about these cemeteries (including the cover illustration by Chagal and the Prague Cycle), it is richly illuminated by the photographs of Hans Dietrich Beyer. I also appreciated the range of cemeteries they uncovered: although I own a book by Minna Rosen on the Haskoy Cemetery in Istanbul, I liked being able to see the photographs of that cemetery next to ones from the same era from elsewhere in Europe and hearing how it differed stylistically from other Sephardic cemeteries. The city maps with the cemeteries highlighted are awesome, as are the archival photographs.

Although some of the ground covered in this book has also been explored by HanneloreKunzl in JudischeGrabkunstvonderAntike bis heute, Jacobs' book will have the strong advantage for most American readers of being in English. Given the large number of color photographs and images and the large number of communities and cemeteries it covers, this book is extremely well priced at $65 USD. Several communities in the Jewish Atlantic World are covered in the work including London, Sepharad (Iberia), Amsterdam, and modern Portugal.

My favorite piece of trivia from the book is that several European Jewish cemeteries had a stable or fenced-in pen for the bechorim (first-born kosher animals that couldn't be eaten except by Cohenim). What a great solution to a vexing problem!

As my twin sister will attest, since an early age I have had an extreme fear of dead bodies. Once I was asked to be part of the women's Chevra Kaddisha (Jewish burial society) in Portland, and although I was (briefly) tempted, I had to decline, as I knew I would never sleep again. I am not sure why this is. When I say I am afraid of "dead bodies," I mean dead people. Although I like live animals much better, I am not completely freaked out by dead animals: when I worked as a veterinarian's assistant, I had to deal with dead pets all the time. Sure I cried a lot, but once when asked to do so, I had to lump it and wash and prepare a dead schnauzer for an open casket funeral. It made me sad (and I felt like I needed to be paid more), but I went home, tucked myself into bed, and slept just fine. Dead people, however, are something else. I don't even like to work in cemeteries with recent burials, which for some reason I find more "creepy." Conveniently my research is mainly before the civil war, so I can usually avoid this problem. Jewish mysticism would say I am right to be wary of recent graves: according to Kabblah, there are at least three parts of the soul (nefesh, ruach, and neshama). After death these three parts of the soul suffer different fates, and the nefesh remains in the grave with the body until the body turns to dust. While in the grave, the nefesh undergoes the “pangs of the grave” (hibbut ha-kever). This means as well as being ritually impure, Jewish cemeteries are unhappy places.

Research interests aside, my fear of dead bodies is unfortunate, as one of the most important duties in Jewish life is to take care of the dead and prepare them for burial. Judaism has many rituals to help transition the body and soul of the deceased. In the Jewish Atlantic World one of the important places where these rituals took place was the "House of the Rounds" (Casa de Rodeos or Rodeamentos). This building served the same purpose as the tahara house in Ashkenazi cemeteries: it is where the ritual washing of the body occurred. A good depiction of this washing ritual was memorialized by the Prague Burial Society, which commissioned a series of paintings that depicted the various rituals performed by the Chevra Kaddisha (burial society) from sickbed to burial. In the Spanish-Portuguese rite, the eighteen members of the burial society also made seven circuits (hakafot) around the coffin.

Picart's eighteenth-century drawing depicts one such ceremony in the House of the Rounds in Amsterdam's Beth Haim Ouderkerk. The original seventeenth century tahara house was replaced in 1705 by the current building which still stands and was renovated in 1966 (below). One of the thoughtful features of this house was the wooden extension for Cohenim. Although most Jews could visit the dead after burial, those descended from the priestly family (Cohenim) are not permitted to walk in cemeteries. As Joachim Jacobs notes in his fabulous book Houses of Life, the extension allowed the Cohenim to "follow the hakafot through a window, without being under the same roof as the dead person (69)" Near the house, and right next to the entrance to the cemetery by the canal, is the separate section for the Cohenim that allowed them to see their relatives' graves without entering the cemetery proper.

Exterior of the Beth Haim Ouderkerk House of the Rounds;the Cohenim's wooden extension (black) is on the left(Photo L. Leibman)

Interior of the House of the Rounds today with theDeath's head and washing stations shown in Picart's drawing (Photo L. Leibman)

Many other cemeteries in the Jewish Atlantic World used a House of the Rounds in the cemeteries. Few remain today, though two exquisite examples occur in Curaçao, one in the older Jewish cemetery (Beit Haim Bleinheim), and one in the newer Jewish cemetery (Beit Haim Berg Altena). Like Amsterdam's Beth Haim Ouderkerk, the older Jewish cemetery in Curaçao paid attention to the special needs of the Cohenim and even built a special house from which they could visit the dead and yet not violate Jewish law. The presence of the House of the Rounds is an important ritual element of the Jewish Atlantic World.

At first glance, the gravestones of Redolphus Malbone (1767 LEFT) and Isaac Lopez (1762 RIGHT) look remarkably similar: their graves are marked by small upright markers with cherubs at the tops and vegetation images along the sides. While many children’s graves were marked either only by a plain marker or not at all, the parents of Redolphus and Isaac chose to mark these graves with well-carved stones made by the two of the most important carvers in Newport: William Stevens and John Stevens II (1702-1778), sons of the illustrious carver John Stevens I.In addition being a physical reminder of the children, the stones present a important message about the parents’ hopes about the children's ability to live on after death. The stones vertical are carved in a shape associated with a curved doorway into the world to come. The side pillars (“borders”) were seen as analogous to the pillars in the third temple that harkened of the messianic era. The topmost portion of each stone (the lunette), bears an optimistic message of redemption conveyed by the simple straight-faced cherub: while the death’s heads common throughout other parts of New England reminded the living of the conflict between the mortal and immortal portions of the deceased, “cherub stones tend to stress resurrection and later heavenly reward” (Deetz and Dethlefsen 31).The cherub was a metaphor for the soul of the deceased: it was poised in flight between this world and the next (Tashjian and Tashjian 1992: 1974: 83). The stones’ borders reinforce this message of rejuvenation: the Malbone stone contains the fig border commonly used by William Stevens in the 1740s-1770s (Luti 134), while the Lopez stone contains a variant on the fig-lily pod theme used by John Stevens II. Figs were “believed to ward off the evil eye and offer general protection against hostile beings and powers” (Biedermann 129), and fruit and flowers are generally associated with fecundity and fertility. In an uncertain world, the stones were largely optimistic.

Vincent Luti argues that five areas are essential for identifying individual carvers for stones made in Newport: (1) Lettering, (2) Wings, (3) Mouths, (4) Eyes, and (5) Borders (Luti 26-27). Identifying characteristics of William Stevens during this era include (1) An off-center “e” in the “ye” and “full-bellied 5, with a flat-capped serif,” (2) scoop wings and pedestal bibs, (3) bow-mouths, (4) eyelids with lashes and an owlish and bulging eye and (5) fig or lily pod borders. Cherubs were bald or wigged. William Stevens stones from the 1760s-1770s that were wigged tend to have plain wigs, raked wigs, or scroll coil wigs (Luti 103-105, 134). William Stevens stones are easily confused stylistically with the early work of his brother-in-law and one-time apprentice John Bull who early on in his career imitated William Stevens’ style. Distinctive elements of John Bull’s stones that don’t appear on Stevens’ stones include (1) an onion fleur-de-lis, (2) a circular line undercutting the feather spray or “bib” under the cherub’s chin, and (3) the tail of the “g” is tucked into the loop (Luti 231, 244). The stone of Redolphus Malbone contains no John Bull markers, but does contain the following elements characteristic of William Stevens: (1) An off-center “e” in the “ye” (2) bow-mouths, (3) an owlish and bulging eye, and (4) fig or lily pod borders. Luti has attributed Isaac Lopez’s stone to John Stevens II (Gradwohl 39-40). Although it is very similar to William Steven’s stones, it bears several strong distinguishing features: a distinctive border and pupils that “look heavenward.” From 1745-1778 John also took up his brother’s previously distinctive of-center ye lettering (Luti 80).

During the 1770s, William Stevens shop and home was located on Long Wharf while John Stevens II’s home and shop were located at 29 and 30 Thames respectively (Luti 32, 99). Their father John Stevens (1646-1736) began the Stevens carving dynasty that continues until this day.